#fantheories

[meiishu]

personally i am of the headcanon that if anya and damian started dating as teenagers, loid wouldn’t be fiercely overprotective of anya -- he’d like damian and trust anya by that point enough to make her own choices and would want to protect damian, knowing his family background and how crap everyone in his life is. 

while he’d be wary of her being with a boy who's name would make him dangerous by association, he’d want to protect damian and give him a place of sanctuary. he’d remember the little boy he met at eden academy who held onto every single word his absentee father said to him. he’d remember how damian had stared at his father’s retreating back, like he’d strung all the stars in the sky, and his heart would break for him because that boy is the reason loid began spywork in the first place. he wants a world where children are safe to be children the way he was never allowed to. loid would absolutely adore damian if anya brought him home.  think he’d know that damian would never break anya’s heart deliberately, because he knew what it was like to have a broken heart before he was even in the double digits. loid would see parts of his own childhood reflected in damian’s cold relationship with his father, and wouldn’t want to give damian something else to fear. he’d want his home to be a place damian could feel safe in.

however my headcanon is that YOR would be fiercely protective of anya, especially after nearly losing track of her as a child and all of the crazy antics they’ve gone through. by the point anya is a teenager, assuming she learned anya’s backstory (which despite us not knowing, i know has to be sad and full of illegal child experimentation), i can see yor being that much more protective of this girl who has never had a proper family until she stumbled into a fake one that became real. i don’t think she’d deliberately threaten damian, but i can 100 percent see her going all, “cleaning all my knives in full view of my daughter’s boyfriend” mode unintentionally, and using several opportunities to show just her intense strength and how damian better not get any funny ideas here. 

i do think she would love damian a lot, and like loid, would want to take him in and protect him too -- she just would be protective of anya a lot, especially at first, and it would probs make damian nervous. i think loid would have to mediate for yor and remind her to hold back some/that damian isn’t the threat here and to bring her back to herself

[allegorymetaphory]

I'm not convinced Jean Jacket is an ET. I think it's the real apex predator of Earth, home grown.

The species could have been around a long time and we wouldn't know it because of how they hide and camouflage. Plus, the nature of the beast is such that if you see it you die. If you don't die, nobody believes you. The secret continues.

The nature of predators is to be territorial, and OJ proved it was. For a creature that can casually break the sound barrier, that territory must be huge.

Predators are generally vastly outnumbered by their prey.

If it couldn't handle a big balloon popping inside it, I doubt it could withstand the vacuum of outer space.

I think the evidence is on my side. Jean Jacket is no alien. Jean Jacket and its kin belong here. There's one in your area.

What do you think?

[purplepanda-marvel-leaks]

WHAT IF...? S3

The episode that will revisit characters from Season 1 is a continuation to What If… Thor Were an Only Child?

More details soon...👀

[pop-theories]

Batman is a mutant

[casualtheoriesandthoughts]

Revisiting Religion in Final Fantasy X

I've been replaying Final Fantasy X recently, and it's been interesting to both play a game I loved growing up and in some ways grew up with as I replayed it several times over my life till now. I've since started studying religion and theology in grad school, and I started thinking about how much religion plays a role in FF games. FFX shows it most prominently, and it's certainly accepted by a pretty large part of the fanbase that the game is critical of religion.

That being said, I noticed something when Tidus arrives in Besaid, and encounters the Yevonite religion for the first time (and apparently religion in general). Tidus never really criticizes the temple or the teachings of Yevon, even though he's irreverent to the extent of breaking into the Cloister of Trials and admitting that he's never prayed before. He also remarks that he senses a "gentleness" coming from the aeon Valefor when Yuna summons her for the first time. Tidus isn't really hostile to religion, and even in latter parts of the game, he never criticizes Yuna or anyone else for believing in Yevon. He even gives Auron a little grief for not being more respectful in Guadosalam; and when the party falls to the lake bottom in Macalania, he says "Praise be to Yevon; that's what I would have said, if I was a follower of Yevon". This, despite having just witnessed easily the most blatant display of priestly corruption in Seymour's murder of his father. It's not to say that Tidus is sympathetic to Yevon, but more that his retrospective in Zanarkand isn't in the least marked by an animosity toward religious figures.

The reason I'm pointing all this out is that while it's true that FFX presents a narrative that is critical of religious figures in-universe, I've come to the conclusion that it would be mistake to assert that the game's basic posture is criticality towards religion. It's certainly not the extent to which such a position appears in Persona or Shin Megami Tensei games (which is a whole other conversation). In fact, I would go so far as to say that FFX actually is very pro-religion to an extent, but is more solidly critical of corruption and moral complacency. I see this most in Tidus and Yuna's relationship, as their growth as characters explains much about what core values and messages lie at the heart of the game.

Tidus, as the self-insert main character with a personality, is kind of like our lens on Spira. He is always very empathetic toward and considerate of Yuna's feelings about Yevon and the path of being a summoner. Yes, he doesn't know the truth about the Final Summoning till quite late, but he never denies what the pilgrimage does for the summoner. Even while not always jibing with its rules about machina, self-sacrifice and authority/tradition, Tidus doesn't deny the more basic religious beliefs of Yevonites. His retrospective narration doesn't really focus on religion at all, either.

To be fair, I might be stretching it a bit here, since the personal values of Yevonites are never truly explained beyond the necessity of the pilgrimage and a reverence for summoners. But what we do see: caring for the wounded, praying for others, the processing of death through the sending, and the way feelings are foregrounded in the reality of beings (ex. the dream of the fayth), tell us a lot about the religiosity of Spirans in general (and not even just Yevonites).

And really, what confirms my perspective more than anything else, is that because this is a fantasy RPG, all the magic and summoning is 100% real. There's no room to debate that summoning, mysticism and prayer are not essential parts of this society, in a way that directs all blame for suffering to human fallibility (such as in Mika, Seymour and Yu Yevon). Even post-Bevelle, Yuna's spirit is never broken, and even more so when the party fights Yunalesca. Yuna never ceases to be motivated by her determination to save Spira from Sin, to help people and to believe in her guardians to walk beside her. She continues to entreat the fayth at temples in spite of her wavering trust in the institution that sanctioned her pilgrimage in the first place. The fact that the fayth themselves are unconcerned with Yevon as an institution and continue to empower summoners should say a great deal, as they seem to enter into a kind of spiritual relationship with the summoner through prayer. In Auron's own words: "The fayth are the ones that give power to the summoners. Not the temples or the teachings."

That might seem like instrumentalization on Auron's part, but I think his resentment at some level has little to do with Yevon's teachings, and more to do with its duplicity in the face of immense tragedy and willingness to deceive the people with false hope. His faith Braska and Jecht, his past as a warrior monk and his troubled friendship with Kinoc all seem to point to Auron being disillusioned with Yevon for its complacency and moral bankruptcy than for the practices of faith and the effort of fighting against Sin/sin. Rikku too, despite being Al Bhed and routinely despised by Yevon, never actually feels a revulsion to Yevon's teachings but rather the way that people blithely accept others' sacrifice as a means to their own (temporary) happiness. I stress values and practices not because they're closely followed by everyone, but because Yevon's clergy doesn't fully assent to them themselves and feels free to delude the people. To me, that is the core conflict in FFX: dreams/hope VS nihilism/resignation.

In this regard, Mika is the most obvious perversion of religious authority in his cynicism toward the living and the very reality of death itself. How can you take him seriously about being reconciled to Spira's being full of death, when he himself doesn't fully die? Yunalesca, more than even Mika, is the living/undead symbol of a kind of nihilistic morality that Spira has succumbed to in the face of tremendous despair (i.e. Sin). Seymour represents the darkest consequence of that nihilism: someone who would actually annihilate Spira in the belief that it would liberate its people. Yu Yevon is the origin of Spira's woes, and is literally a shadow of his hatred for Bevelle and the desire to protect Zanarkand. It's a pretty stark commentary on the way that an inability to be moral and care about others can twist the collective moral compass, and how true faith and hope (as in Yuna/Tidus) offers a way forward.

Even though the Final Summoning is "false hope" and one that covered up Spira's suffering, the fayth themselves continue to be present. When you revisit the fayth in each temple, it kind of affirms that Yuna (and Tidus, in a way, through his connection to Bahamut) does in fact have some kind spiritual purpose in fighting Sin. Heck, even the way that Belgemine sticks around in spite of having failed to defeat Sin, seems to drive home that faith and belief is important in the world of Spira. It makes it difficult (at least for me) to believe that the substantive spirituality of Yevon and Spira doesn't matter. And while there's more I could say about what FFX ultimately teaches about religion in a more theological way (esp. through the talk of dreams and the fayth), I think I'll leave it there for now.

[doomsdayoption]

Love this but I feel like if we were to try and apply this to FNAF lore every theory would look like the DVD logo constantly bouncing off every corner.

Made a chart for sorting fantheories

[superhgb]

i'm going on a classpecting binge, please send me your theories, tag me, or send me your favorite theory posts

[seriesmagicx]

Magie und Romantik: Ein Blick auf "Good Witch" Staffel 3

Die dritte Staffel von "Good Witch" entführt uns erneut in die zauberhafte Stadt Middleton, wo Magie und Alltagsleben auf harmonische Weise miteinander verschmelzen. Diese Staffel bietet eine Fülle an neuen Abenteuern, magischen Momenten und tiefgründigen Charakterentwicklungen.

Charakterentwicklung

Cassie Nightingale, die weise und liebevolle Hexe, bleibt das Herzstück der Serie. In dieser Staffel sehen wir, wie sie ihre magischen Fähigkeiten nutzt, um den Bewohnern von Middleton auf subtile und einfühlsame Weise zu helfen. Ihre Beziehung zu Dr. Sam Radford wird intensiver, und gemeinsam meistern sie die Herausforderungen des Alltags.

Dr. Sam Radford zeigt in dieser Staffel eine beeindruckende Entwicklung. Seine anfängliche Skepsis gegenüber Magie weicht einer tieferen Akzeptanz und einem wachsenden Verständnis für Cassies Welt. Dies stärkt nicht nur ihre Beziehung, sondern auch seine Verbindung zu seinem Sohn Nick.

Grace Russell, Cassies Tochter, erlebt eine bedeutende Phase der Selbstfindung. Sie beginnt, ihre eigenen magischen Fähigkeiten zu erkunden und lernt, diese verantwortungsvoll einzusetzen. Ihre Beziehung zu ihrer Mutter und zu ihrer Freundin Abigail wird auf die Probe gestellt, was zu vielen emotionalen Momenten führt.

Die Magie des Grey House

Das Grey House bleibt ein Ort voller Geheimnisse und Magie. In Staffel 3 spielt es erneut eine zentrale Rolle, indem es den Bewohnern von Middleton auf unerklärliche Weise hilft. Die mysteriösen Ereignisse und magischen Artefakte, die im Grey House verborgen sind, tragen zur unverwechselbaren Atmosphäre der Serie bei.

Neue Gesichter und Gaststars

Diese Staffel bringt neue Charaktere und Gaststars mit, die frischen Wind in die Serie bringen. Jeder neue Charakter bringt seine eigene Geschichte und Herausforderung mit, die die Handlung bereichern und vertiefen.

Romantik und Beziehungen

Romantische Beziehungen spielen auch in dieser Staffel eine wesentliche Rolle. Die Beziehung zwischen Cassie und Sam steht im Mittelpunkt und wird weiter vertieft. Ihre gemeinsame Reise ist geprägt von Vertrauen, Verständnis und der Bewältigung gemeinsamer Herausforderungen.

Hinter den Kulissen

Ein Blick hinter die Kulissen von "Good Witch" zeigt die harte Arbeit und das Engagement des gesamten Teams. Interviews mit den Schauspielern und der Crew offenbaren, wie viel Herzblut in die Produktion der Serie fließt. Die sorgfältige Gestaltung der Kulissen und Kostüme trägt wesentlich zur zauberhaften Atmosphäre bei.

Zentrale Themen der Staffel

Die dritte Staffel behandelt eine Vielzahl von tiefgründigen Themen wie Freundschaft, Familie, Vertrauen und Selbstentdeckung. Die Serie zeigt, wie die Charaktere durch Herausforderungen wachsen und stärker werden, während moralische Botschaften subtil vermittelt werden.

Einfluss von Magie auf den Alltag

Die magischen Elemente in "Good Witch" beeinflussen den Alltag der Charaktere auf vielfältige Weise. Magie dient oft dazu, verborgene Wahrheiten ans Licht zu bringen oder Konflikte zu lösen und ist ein integraler Bestandteil des Lebens in Middleton.

Die Rolle von Grace in Staffel 3

Grace Russell steht vor der Herausforderung, ihre Identität als junge Hexe zu akzeptieren und zu verstehen. Ihre Reise ist geprägt von Selbstzweifeln und dem Wunsch, ihren eigenen Weg zu finden, während sie ihre magischen Fähigkeiten entdeckt und nutzt.

Orte in Middleton

Middleton ist eine Stadt voller Charme und Magie. Die verschiedenen Schauplätze wie das Grey House, das Bell, Book & Candle und die Arztpraxis von Sam spielen eine wichtige Rolle und tragen zur Atmosphäre der Serie bei.

Fan-Theorien und Spekulationen

Die dritte Staffel hat die Fantasie der Fans beflügelt und zu zahlreichen Theorien und Spekulationen geführt. Einige Fans vermuten versteckte Botschaften und zukünftige Handlungsstränge, die sich in den Details der Serie verbergen.

Fazit

Die dritte Staffel von "Good Witch" ist genauso zauberhaft und fesselnd wie die vorherigen. Die Figuren sind wieder oder weiter gut gelungen, und die Charakterentwicklung der einzelnen Figuren ist beeindruckend. Ich persönlich kann sie jedem empfehlen, der auch mal seinen Tag hinter sich lassen möchte, aber auch denjenigen, die solche Serien aus dem Genre mögen. Die Mischung aus Magie, Romantik und tiefgründigen Themen macht die Serie zu einem besonderen Erlebnis. "Good Witch" schafft es, die Zuschauer in eine Welt voller Wunder und Herzlichkeit zu entführen und lässt sie mit einem Gefühl der Zufriedenheit zurück.

Good Witch - Staffel 3

[themovieblogonline]

🚨 New Video Alert! 🚨 Dive into the "FROM" Season 3 Trailer Breakdown!

Hey, FROM fanatics! 🎬 We're back with an in-depth analysis of the mind-bending "FROM" Season 3 trailer! 🤯 If you're as excited as we are about the upcoming season, you won't want to miss this breakdown.

🔍 What's inside?

Theories about that eerie skeleton 🦴

Analysis of Boyd's mysterious mission 🚶‍♂️

Decoding the new character played by Robert Joy 🎭

The significance of that cow 🐄 and much more!

We explore every clue, every twist, and every theory that will have you on the edge of your seat until the premiere on Sept 22nd. 📅 Whether you're a die-hard fan or new to the series, this video has something for everyone!

🎥 Watch now and join the conversation: [YouTube Link]

🔔 Don't forget to follow us for more deep dives, theories, and all things "FROM"! Let's unravel the mysteries together! 🌌

[gidiburst]

Jodi Picoult: “It’s no honour for a book to be banned”

[meiishu]

i absolutely love how funny it is that damian fell for anya immediately after she punched him and put him in his place its hilarious and adorable and i love him so much

but thinking about it makes me sad BECAUSE 

damian has never had anyone in his life who really genuinely cares about him passionately. when we see donovan interact with damian during the first meeting episode, donovan treats damian almost like an underling. a pawn, someone who’s a tool in the game he’s playing, but someone who he genuinely doesn’t know. hell, donovan even explicitly states that “children are like strangers” when damian is literally standing right there to hear it. and, when damian finally works up the courage to tell his father about his school life and his father says the most dismissive “keep that up” statement, damian’s face literally lights up and he’s so, so, so happy that he has his father’s approval over something he’s done (even though it’s barely an approval or anything)

and i was rewatching the clip where anya decks damian in the face because funny and it got me thinking. in school, damian has his friends who call him master -- probably because he wants to use his family name to feel as important as his dad and his brother are -- and his classmates all seem to “like” him. but their “like” is tied to damian’s father’s name and his family. so when anya is indifferent to him, he doesn’t get why, and so he pushes her, craving some kind of emotion from her. when she finally snaps and decks him in the face, she had a strong enough feeling towards him to want to deck him in the face. it wasn’t respect or fake, it was genuine frustration she felt for him. paired with her tear-filled apology, with a genuine-sounding plea that she didn’t mean to hurt him and that she wanted to be his friend, really moved damian because no one in his life had ever had that much emotion towards him, which likely is why following her apology, damian blushes and we see the beginning of his crush take form.

we don’t know damian’s relation to his mother yet, but judging by what she says to yor, she feels similarly to her husband. he’s had some contact with demetrius, who warned damian not to get his hopes up for their father to meet up with him. but he and demetrius don’t seem particularly close, even if they’re close-er than damian is with his parents.

damian craves attention for himself and his actions -- not his family's name. yeah he uses it to get attention (IE. his classmates) but it doesn’t stick with him the way that anya’s disinterest did. when anya notices things about him (even things that annoy her or that she makes fun of) she is noticing him, and that’s why damian fell so hard for anya and why his crush is so intense. he feels a huge spike of serotonin when anya acknowledges him because he’s damian, not because he’s damian desmond son of donovan desmond, which makes his heart flutter and him crave anya’s attention even if he’s a tsundere about it 

...which also means that if he ever finds out about the mission (!!!) and how anya was only trying to get close to him so her dad could get to his dad, well, it’ll hurt him a lot. 

tldr; fuck donovan desmond i hate him

[taqato-alim]

Analysis of: "If I Ran Marvel..." entertainment commentary/criticism by Dan Murrell

In the following text the term "document" refers to the subtitles of the video.

Summary of the discussion:

The genre of the document is entertainment commentary/criticism based on its informal, analytical tone and focus on the MCU.

It demonstrates strong knowledge of its subject matter and presents its critique in an engaging, well-structured manner.

The perspective presented is an idealistic, constructive vision from a passionate fan's perspective.

Some arguments could be strengthened by addressing counterarguments and alternative views more directly.

Implementing the proposals may benefit fans and creative talent most but risks short-term financial impacts.

Strategies like enforced rewatching or divorcing business from creativity have limitations and risks.

Moderate, balanced approaches that consider stakeholders and complexity may have higher chances of success.

The author's personality seems to be that of an creative, enthusiastic visionary focused on improvements.

Overall evaluations found reasoned arguments but also opportunities to qualify statements, address challenges, and strengthen logical reasoning and evidence.

Here is a summary of the document in bullet points:

The speaker is pretending to be Kevin Feige, head of Marvel Studios, and discussing what they would do if they were put in charge of Marvel

They would stop all current production except for projects already in late stages, and re-evaluate planned projects

Everyone at Marvel would rewatch all previous MCU movies to analyze what worked and didn't work

Future projects would go back to focusing on individual heroes and their stories before setting up larger crossovers

All ideas would be eligible for exploration without being ruled out due to past failures or other factors

Creative decisions would not be based on marketing or financial factors like release dates

Major characters like the Avengers would be given a break from team-up movies

New focus would be on rebooting properties like Fantastic Four, X-Men, and Spider-Man

The multiverse concept introduced in movies would be fully leveraged through one-off crossover projects

Budgets would match projects' actual needs rather than being excessively large by default

Reshoots would only be used to improve existing projects, not rewrite entire scripts late in production

Future plans would slowly be hinted at without being rigidly locked in

No more than 3 movies and 3 Disney+ shows would be released per year to avoid oversaturation

Based on the content and style of the document, I would classify its genre as entertainment commentary/criticism.

Some evidence that supports this:

The speaker is providing their perspective and commentary on Marvel Studios and the MCU, criticizing some past direction and offering suggested changes.

It has an informal and conversational tone, but analyzes creative decisions and business strategies in detail like a film critique might.

It references specific movies, shows, characters and storylines from the MCU to support points, demonstrating knowledge of the material being discussed.

The purpose seems to be entertainment and starting a discussion about Marvel, rather than strictly informative like a work of journalism might be.

It is posted on a YouTube channel focused on movie reviews and commentary, suggesting this genre of entertainment commentary.

The style is presenting an imagined scenario ("What if I ran Marvel?") which invites critique and debate, rather than stating facts.

So in summary, while it touches on business and creative aspects, the primary genre is entertainment commentary/criticism - evaluating and opining on a popular media franchise from the perspective of a knowledgeable fan. The target audience seems to be other passionate MCU fans.

Based on the information and perspective presented in the document, here is an evaluation of the situation of the MCU:

Both critical and commercial success appear to be declining based on specific films and shows cited as disappointments. Data supports box office declines.

Fan enthusiasm may be drifting as well, supported by need to "rekindle passion" and make properties essential viewing again.

Overly relying on crossovers and large-scale team up movies risks repetition and dilution of character/story importance.

Quantity over quality with high output may be saturating the market and lowering demand. Movie theater struggles support this view.

Lack of strong singular hero/property focus risks characters becoming generic cogs in a machine vs compelling individuals.

Reshoot-heavy production implies some planning/writing flaws as creative process extends into costly post-production.

However, some high points still exist like Spiderman:NWH suggesting market potential remains if executed correctly.

Overall, while still a lucrative franchise, credible evidence suggests the MCU is facing serious challenges to sustained quality, audience appetite and cultural relevance if course is not corrected. The diagnosis seems a reasonably accurate portrayal of real issues potentially facing the shared universe model long term.

Here are some of the key stakeholders that could be affected by the proposals in this document and an evaluation of the impacts:

Marvel/Disney executives - Major changes proposed could impact business strategy and planning. Both risks and rewards discussed if creativity/quality improve.

MCU creative team (writers, directors, producers) - Freer creativity suggested but also pressure to meet loftier goals. Potential for burnout with tighter limits and "rewatch week".

MCU actors - Less steady work opportunities with fewer projects in production at once. But potentially more beloved/compelling roles.

Movie theater chains - Potential upside if proposed changes boost box office. But risks with fewer guaranteed tentpoles spread evenly year-round.

Marvel fans - Clear prioritization of fan experience/satisfaction. Proposals aim to rekindle passion and demand for future projects.

General moviegoing public - Broader relevance depends on commercial success of proposed changes appealing beyond hardcore fans.

Disney+ subscribers - Suggested emphasis on quality over quantity for streaming shows impacts service value proposition.

Overall, while challenging stakeholders like executives, the proposals generally seem aimed at prioritizing the sustainment of creative talent/passion and enhancing theater and audience experiences long-term. However, precise impacts would depend greatly on execution of ambitious vision discussed. Risks and rewards seem reasonably balanced across parties.

Here is an evaluation of the idea of everyone at Marvel rewatching all previous MCU movies:

Potential benefits:

Provides a holistic perspective on the entire narrative across films/shows that individual projects may lack in isolation.

Allows identification of broader tonal, character, and storytelling trends across the universe at a macro-level.

Encourages collaborative analysis and discussion that incorporates varied roles/viewpoints within the company.

May surface insights not apparent from single viewings or strictly relying on past analyses/reviews.

Potential limitations:

Time intensive process that could hamper ongoing work for creatives and executives with full schedules.

Subjective interpretations may vary significantly between individuals affecting consensus.

Earlier films may appear dated and be reevaluated through a modern lens rather than context of release.

Difficult to systematically catalog learnings in an actionable creative brief from such a marathon.

Risks of fatigue, diminishing returns on later rewatches in a binge format.

Overall, a rewatch endeavor could yield some dividends but may be challenging to implement effectively across a large company in a tangible way that directly guides future plans. A more targeted, facilitated analysis amongst key creative roles may prove more fruitful.

Here is an evaluation of the idea of creative decisions not being based on marketing or financial factors:

Potential benefits:

Allows creative vision/storytelling to take priority over commercial imperatives which could improve artistic quality.

Reduces risk of projects being rushed or altered purely to serve release date/marketing windows.

Gives filmmakers more freedom which may increase job satisfaction and ability to attract top talent.

Potential limitations:

Removes important business considerations that impact investment decisions and revenue/profitability.

Release schedule and marketing strategies are still major factors for audience awareness and box office potential.

May lead to disjointed long-term planning without any business oversight of creative output levels.

Difficult to execute fully given scale of MCU as a major commercial operation rather than solely an artistic endeavor.

Risk of ballooning budgets without fiscal responsibility or rationale for release timing/pacing.

Overall, striving for more balance between creative and commercial priorities rather than a total divorce from business realities may be a more pragmatic approach for a blockbuster franchise operation. Some coordination is likely still needed.

Here is an evaluation of leveraging the multiverse through one-off crossover projects:

Potential benefits:

Allows for fresh matchups and stories not possible in main continuity. Could excite fans.

Provides opportunities to utilize beloved characters in new contexts.

Lowers risk profile of each project since success is not essential to larger narrative.

Testing ground for ideas that could inform future plans if successful.

Potential limitations:

May dilute importance and impact of crossovers if overused in a non-essential format.

Risk of disjointedness or lacking synergies if not carefully coordinated long-term.

Securing rights agreements across studios/IPs adds complexities for partnerships.

Each project requires full development/production which strains resources if not managed carefully.

Demand uncertain without obvious connection to ongoing story or characters audiences follow regularly.

Overall, one-offs could work if used judiciously to build hype but Marvel's strengths have been longform storytelling. Leveraging the multiverse most effectively may require balance between self-contained projects and those driving a larger narrative. Strategic coordination would still be needed.

Here is an evaluation of the idea of limited reshoots only for improvement rather than rewriting:

Potential benefits:

Ensures scripts are thoroughly developed before filming begins, avoiding costly structural issues late in the process.

Promotes a properly planned, organized production cycle rather than rushing aspects.

Filmmakers and actors will be executing a cohesive vision developed during pre-production.

Budgets and schedules can be managed better without unpredictable late additions.

Potential limitations:

Allows less flexibility to course-correct major flaws discovered during post-production editing.

Risk that minor polishing reshoots still spiral into excessive workload if not tightly controlled.

Creative flexibility is limited even if some rewriting could genuinely strengthen a project.

May stifle innovation that occasionally occurs through non-linear creative processes.

Overall, striving for more thoroughly developed scripts makes sense, but a total ban on any rewriting could also hinder improvement in some cases. Clear guidelines and oversight would help strike a balance between structure and flexibility.

Here is an evaluation of releasing no more than 3 movies and 3 Disney+ shows per year:

Potential benefits:

Reduces risk of audience fatigue/loss of excitement from an overabundance of cross-promoted content.

Forces higher selective curation and spacing to boost desirability/hype of individual projects.

More development time may improve creative quality by avoiding strained pipelines.

Fewer concurrent productions means capacity for higher budgets on focused projects.

Potential limitations:

Revenue stream becomes less predictable with fewer guaranteed annual tentpoles/shows.

Talent/resources are not fully utilized if pipelines are intentionally kept under capacity.

Third-party platforms may see the MCU as less integral/impactful with reduced exclusive output.

Risk that some creatives will seek work elsewhere if opportunities are more limited.

Overall, moderation does seem prudent given quality concerns, but a total threshold may be overly restrictive and limit commercial upside if demand remains high. Flexibility based on monitored audience reactions could be balanced.

Here is an evaluation of who may profit and not profit from the ideas presented in the document:

Potentially profit:

Fans/general audience - With a renewed focus on quality storytelling and characters, engagement and enjoyment could increase.

Creative talent - Greater freedom and emphasis on original concepts may boost job satisfaction.

Marvel/Disney (long term) - Improved quality leading to enduring fan passion and box office could outweigh short term risks.

Potentially not profit:

Marvel/Disney (short term) - Fewer guaranteed tentpoles annually means less predictable revenue streams in transition.

Movie theaters - Loss of volume of assured blockbuster content could dampen box office until demand is reinvigorated.

Product/retail partners - Slower pace of new films/shows impacts merchandising and licensing opportunities.

Shareholders - Short term financial impacts from changes may not be welcomed on balance sheets.

Executives - Significant shifts in strategy open the company up to increased risks in an unstable period.

Overall, while creative talent and fans stand to benefit most, corporate stakeholders prefer stability. The proposal aims for long term profits but transitions inherently carry risks disrupting business as usual in the short term for those prioritizing predictable revenue. Quality improvements may eventually outweigh all costs if successfully executed.

Based on the content and style of the document, I would characterize the perspective it presents as:

Passionate fan perspective: The speaker clearly loves the MCU and wants it to succeed long-term, coming from a place of fandom rather than detached analysis.

Constructive criticism: While identifying flaws, the goal seems to be offering solutions to get Marvel back on track rather than just negativity.

Engaged viewer perspective: References experiences watching the movies/shows, critiquing them as an attentive audience member invested in the quality of storytelling.

Idealistic creative vision: The proposals imagine envisioning Marvel with unlimited resources/freedom, advocating for ambitious creative risks rather than just fiscal prudence.

Skepticism of current plans/direction: Implying recent strategy drift led to failures, wanting a return tobasics that made early movies so beloved.

Optimism for potential future: Tone is one of hope that Marvel can regain past glories with right leadership, not pronouncing the franchise doomed.

In summary, the perspective presented can be characterized as an engaged, passionate fan's idealistic creative vision for Marvel - criticizing respectfully from a place of love for the universe, rather than detached or antagonistic analysis. The goal seems to advocate constructively for maximizing future storytelling quality and audience enthusiasm.

Based on the style and content of the document, here is my analysis of the likely personality type of the author:

Idealist/visionary - They see possibilities and propose ambitious, big-picture changes to optimize long-term creative potential.

Passionate/enthusiastic - The author clearly loves Marvel deeply and wants the absolute best, evidenced by emotion and detail in critique.

Creative/innovative - Solutions demonstrate divergent, imaginative thinking beyond standard industry practices.

Persuasive/articulate - Able to synthesize vast knowledge and advocate coherently for their reformed vision.

Analytical/detail-oriented - Supports points by precisely referencing specific MCU elements and story decisions.

Constructive/solutions-focused - Goal seems to improve Marvel rather than just criticize; offers a path forward.

Leader/initiator type - Envisions self in top creative role making bold moves, not staying stationary.

Overall, these tendencies suggest a personality tending toward traits like extraversion, intuition, thinking and judging on the Myers-Briggs scale - someone energized by conceptualizing innovative improvements and advocating them persuasively to enact change. A visionary Idealist/ENTJ type best captures the apparent attributes.

Here is an evaluation of the quality of reasoning presented in the document:

Provides specific examples and evidence from past MCU works to support many claims about what has worked/not worked creatively. This gives arguments more factual basis.

Clearly lays out a full vision for reform with 12 numbered action items, giving it structural logic and comprehensive quality rather than vague assertions.

Qualifies some statements with reasonable caveats about flexibility and openness to new ideas, showing awareness of complexity.

Makes intuitive rationales for why proposed changes could have intended effects, like boosting demand through reduced output or focusing resources.

However, some arguments could be strengthened by addressing alternative views more directly or providing additional evidence from film/biz studies.

Limited acknowledgment of potential difficulties or unintended consequences of ambitious proposals being put into practice.

Reasoning is strongest when sticking to creative/storytelling aspects versus some industry/financial claims with unknown variables.

Overall, while passionately argued from a perspective of expertise, the quality of reasoning is good but could be improved by more directly grappling with counterarguments, acknowledging complexity, and providing broader evidence/data to support some conclusions presented as fact. The vision is cogently laid out but its practical feasibility relies on some logical leaps.

Here are some potential logical fallacies present in the document:

Argument from inconsistent premises: The author argues both for being less restricted by rigid future plans but also says Marvel should "call their shot" with 5-7 year game plans, which seems internally inconsistent.

Slippery slope: It argues reshoots have become overused creative crutch, implying this will inevitably lead to declining quality, without proving that logical step.

Anecdotal evidence: Cites one critic/audience-disliked film as proof reshoots don't work, without broader evidence this strategy won't ever succeed.

Hasty generalization: Suggests quality issues are due to overproduction while only citing specific recent movies as evidence without a larger sample.

Appeal to authority: Proposes having actors/filmmakers involved in "rewatch week" as if their subjective views would determine flaws/strengths objectively.

False dichotomy: Acting as if a creative vs marketing focus is an either/or choice when there may be balance or middle grounds.

Overgeneralization: Assumes fan dissatisfaction means the Multiverse hasn't been fully leveraged yet, when individual projects' quality and audience reception vary.

While providing impassioned perspective, the author's arguments could be strengthened by addressing some of these potential logical inconsistencies and gaps in evidence/reasoning. The perspectives advocated may ultimately be reasonable but aren't proven absolutely or exhaustively through the methods of logic and argumentation presented here.

Here is an evaluation of the document based on common criteria for entertainment commentary/criticism genre:

Knowledge/Expertise of Subject Matter: The speaker clearly has in-depth knowledge of the MCU movies, shows and storylines, demonstrating expertise in referencing and analyzing specific creative choices.

Persuasiveness of Arguments: Tost points are well-supported by providing examples from MCU works and logical reasoning. A few arguments could be stronger (e.g. budget section).

Engagement with Audience: Informal, conversational tone keeps it engaging. Imagining "running Marvel" invites audience participation over dry critique.

Creativity/Originality of Perspective: While drawing on common fan critiques, synthesizing all into a cohesive vision for change shows creative thought beyond routine reactions.

Structure and Organization: Clear introduction, body organized by numbered proposals, conclusion thanking sponsor - flows well for listeners/viewers.

Quality of Writing: Writing is clear and accessible without being simplistic. Able to tackle complex creative/business topics understandably.

Entertainment/Enjoyability Factor: Passionately presented critique should appeal strongly to fellow MCU fans seeking more engaging discussion of their interest.

In summary, the document demonstrates strong knowledge of its subject and presents its critique in an entertaining, engaging and well-structured manner that invites thoughtful discussion - scoring highly based on this genre's typical evaluation criteria.

Here are some ways the document could be improved:

Cite additional evidence/data to strengthen some claims, like box office trends or surveys of fan opinion.

Directly address potential counterarguments or limitations to proposals more thoroughly.

Qualify some definitive statements as opinions rather than presented as irrefutable facts.

Provide more context on the current MCU situation beyond just citing recent projects.

Suggest metrics for evaluating success of changes implemented to provide accountability.

Consider including a section on stakeholder buy-in/realistic implementation challenges.

Structure some sections with more focused subheadings for easier digestion.

Lighten the criticism in places with acknowledgement of past successes too.

Proofread for typos, formatting or structural consistency throughout.

Consider a conclusion that reaffirms vision rather than just thanking sponsor.

Include references/citations to allow verification of some references made.

Overall, while passionately argued, strengthening logical reasoning, adding nuance, qualifying statements and tightening structure/flow would help make the proposals even more persuasive and solution-oriented for stakeholders.

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[littlered454]

Why I think Taylor will *not* put 123 LGB in Delicate TV

So, as we all know, taylor will be releasing reputation tv, most likely after 1989. And a lot of people have been hoping she will add the iconic 123, LGB. But i don't think she's going to do that. Taylor thinks long and hard about what she does. She probably knows that a lot of fans do NOT want her to add the 123lgb. This means if she does add it, then a lot of people will not listen to Taylor's version. the ultimate goal is for scooter braun to stop making money off of her. I believe she will not add it in delicate tv, but she will make a concert edition which has the 123lgb in it. thank u for coming to my ted talk.

[knowitallcorner]

बचपन के आम GAMES जिनके पीछे चुपी है डरावनी हकीकत | The Grim Reality of Childhood Games

[enthusispastic]

Did you guys know that they made a whole musical about the neighborhood watch guy from Nerdy Prudes Must Die??? It's like, pretty good too